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When I think of "workflow" I usually term the area of concern thusly: Materials and Methods In my own practice as a composer, it does not matter if I am using a pencil and manuscript (which I often do), compose at the piano (also typical), or use a programming language like Csound or a comprehensive system/environment such as Opusmodus. My background considerations, and my notebooks and sketches, are concerned with the materials and methods for a given work (or series of works). Over time the notion of "materials and methods" has become more expansive and inclusive and now describes (rather than defines) my "method" as a composer and, to an extent, the sound of my work. As Ferneyhough once described, he is a "layers man" - working from from the description of the temporal lattices that he develops with an ear to complexity and utility. Then, upon this temporal scaffolding (what Wishart somewhat disparages as "the lattice") he takes to the next "layers" of the musical context - pitch, articulation, dynamic, etc. Likewise, Reynolds forms a set of plans and designs (often informed by extra-musical impetus) in geometric detail - much like an architect, drafted on paper in high-resolution detail - he develops with meticulous attention to detail and nuance the "materials" of the work - sometimes describing the entirety, but also replete with specificity down to the second and the sub-section. Then he attends to the notation and the creation of "the music." Yuasa often works with eye and ear in tandem, and relies upon graphic compositional techniques on paper to develop his polychronistic music. In fact, many composers work with graph-ism in similar ways as Yuasa (Xenakis and Ligeti come to mind), and this is why the graphic visualization tools in Opusmodus are invaluable to others who follow on with similar approaches. Creating a complex musical expression (a work) cannot be fully realized in one Opusmodus script. Therefore, the development of personal and idiosyncratic methods to utilize Opusmodus, perhaps in tandem with other tools and techniques, is key to mastery and utility in one's artistic practice. The definition and outworking of "methods" is the composer's domain. It is above and beyond "code" and therefore, sharing about this together in our community has enormous value not only to Opusmodus users but also the the art form itself.

Hello, This post is old though i used ChatGPT to see metronome resources...without success. is it possible to generate a metronome track directly in an omn expression? Thanks for your help (setf 1-note (melodize (pitch-transpose-n '(7 7 7 7 12 10 7 7 12 10 8 8)(chordize (gen-divide 1 (gen-repeat 12 '(c4 ))))))) (setf solo (make-omn :pitch (rnd-unique '(1) 1-note :seed 4) :length (gen-loop 12 (euclidean-rhythm 16 3 14 's :type 2) :seed 4)))

I am very happy to do that. Any anyother name sugestions for the new forum?

This is something that I've been thinking about for a while now - and it might be a good time to initiate it alongside the potential of ChatGPT integration with OM documentation - as the two may be related. In addition to the specifics of functions/libraries and learning 'the language' - be it OM specific or CL more generally - I think that one of the biggest hurdles in using OM creatively is in developing a creative workflow that makes best use of the power of OM within each composer's needs and approach. I have given this a lot of thought because coming from a highly SuperCollider based approach to OM required a major rethinking of my system set-up, working with MIDI and a whole range of technical issues that ultimately had an effect on how I worked with OM as the primary interface for actually composing. This topic is touched on in Nigel Morgan's earlier Parametric Composition Book and also in the Fundamentals of OM book - but the approach is quite technical rather than workflow based and I think the latter is connected with the former and it might be helpful to have somewhere to discuss it on the forum. As it stands, I have to look in a variety of places for these sorts of ideas- and often they are buried in other posts not connected to this topic! So I'm suggesting that we could really use a sub section on the forum for looking at different ways of working as a way of learning how to best use OM from others' experiences. A good example is Stephane's very insightful 'Zoom into OM' video on 'Instantiation of Musical Thinking', which helped me significantly to make a connection with how I work in terms of algorithm design, compositional ideas and final results and output. If others think this would be a useful thing to have as a subsection, can we set it up - and I'll get the ball rolling with some topics? bw Andrew

Stephane - thanks for the response. You really help to keep this forum active! I already have your sound sets course: I subscribed to most of your courses when I first got an OM license as it seemed the best way to get started. Those courses have helped enormously - especially the series of five advanced ones and I return to them to keep learning more. In addition to being very practical, they are also a constant source of ideas for 'thinking in OM' - so thank you for all of this. The sound-set course was very helpful when I was first setting up my OM-MIDI system and I think I've mastered most of these concepts now. What I haven't used as much is the CC side of sound-sets, outside CC1, 7 and 11 - and I think I just need to spend some more time with Halion to look at the possibilities of CC mapping and then setting up a sound-set to manage CCs directly from OM. I have already come up with a really useful way of using add-text-attributes to create non-sticky articulation into scripts to trigger changes of VIs directly from OM that are not typically used in musical scores - but all of those are used to drive VIs that use key switches but where those key switches do something other than triggering an articulation change: a good example is in triggering different round-robin behaviours that would make no sense in a musical score but has immediate aural effects - and I think that this will work well for other sample-based VIs - but my initial question arose because I could not see an obvious way of doing this when the VI does not use key switching as a main trigger, as Halion does not. I'll have a look at some of the other default OM sound-sets for other ideas as well. bw Andrew

with chatGPT version 3.5 it works too!

Yes, you need ChatGPT Plus subscription.

It's a good thing. for my part, I was already using it for some time. The problem is the number of requests...you have to pay!

The ChatGPT still hallucinating but not to much. You always can tell the Opusmodus GPT to 'Search the Knowledge' first before any responds. Hopefully the ChatGTP will improve with time.

Dear Opusmodus Users, We are excited to announce the launch of Opusmodus GPT, a customised version of ChatGPT tailored specifically for the Opusmodus community. Opusmodus GPT incorporates the entire Opusmodus documentation along with comprehensive usage examples. This tool allows you to interact and receive responses in your preferred language, making it easier than ever to explore and utilise Opusmodus functionalities. You can access Opusmodus GPT directly through the following link: ChatGPT - Opusmodus GPT CHATGPT.COM Composing Continuum We hope you find this tool valuable and look forward to your feedback. Best regards, The Opusmodus Team

You can find the full score from the video in the attachment below Example 6.opmo

You can find the full score from the video in the attachment below Example 5.opmo

You can find the full score from the video in the attachment below Example 4.opmo

You can find the full score from the video in the attachment below Example 3.opmo

You can find the full score from the video in the attachment below Example 1.opmo

You can find the full score from the video in the attachment below Example 2.opmo

Ah, that's it. Thanks Janusz. Jesper

you need to set the :encode to NIL: (rnd-order '(e e e -e e e_q) :encode nil)

Designing sound sets and instruments sets – Working with VI plugins with Opusmodus (level 2) - Composer Workshop WWW.COMPOSERWORKSHOP.COM <span>This level 2 course focuses on designing sound sets and working with VI plugins in Opusmodus. It is intended for users who already have some experience with Opusmodus and want to learn new techniques for driving virtual instruments plugins directly from Opusmodus, managing the playback, articulations and controllers to enhance their composition workflow and output sound... OM works fantastically well with sound sets and controllers, program changes etc... I'm using it every day to drive a very big amount of plugins of any types, I don't have Halion but I'm sure it is not a problem. Here you can find my course on sound sets design.

This function exist nowhere David, it was made by Jesele. I you copy the code of the function definition and evaluate it, you will be able to use it.

I have just picked up Halion 5.1 in Steinberg's 5.1 update 50% off sale - and I'm looking at integrating this into my current MIDI setup to use with OM. Currently, the majority of my VI sound sets are for key-switch based VIs (VSL, Kontakt etc) and these are all driven by OMN articulations linked to key switches in their sound-sets. I have found this to work very well and efficiently when composing with these VIs and also as a good way of experimenting with articulation mapping directly in OM. The convenience of this approach is one of the major strengths of initial compositional drafting in OM. I'm not particularly concerned with final score output so articulations for my needs are about practical results in audio output which I then render to sound files. OM scores are just one more tool to this end rather than an end in themselves, so format issues are not relevant to my needs (which they might be to other users) and so articulations in OMN forms are about sound file and sample control rather than score markings. I have played around with a variety of soft synths that don't work with key switches and not been happy with how these integrate into my OM workflow - and so far have mainly been using them separately from my OM-driven workflow by combining OM-created MIDI files in a DAW (Reaper). Ideally I'd like to be able to work in a more unified way with my scripts driving VIs with sampler/synth sound sources also driven from scripting rather than overdubbed later in Reaper. Halion 7.1 looks like this will fit the bill given its extensive multi-timbral MIDI options. One option that I'm looking at is to replicate a workflow that I used in the 1990s when working with 'pure' MIDI sequencing driving hardware MIDI rack devices such as romplers and this has a certain appeal for a workflow in OM along with sample library VIs. However, since key switching is not really the optimum way to work with Halion, I'm looking for other possibilities. Program changes are one possible option and I'm aware that this is something that can be easily set up in a sound-set, even though I have not yet really used this option for my other VIs - but this may also not be the optimum way to work with software as flexible as Halion. My most likely usage scenario is to have both small sample groups mapped into programs on a MIDI port/channel in Halion with larger audio files in other Halion programs on other ports/channels for overlaying re-synthesised/granulated processing of material alongside the VI outputs. I'd like to be able to trigger such material inside the OM script with a high degree of control rhythmically and to enable intricate and cohesive control over placement with the OMN forms in those scripts. I'm wondering whether anyone has successfully used Halion as a multi-timbral instrument driven by an OM sound set - and if so, whether you could share any useful information about how to create a soundset for Halion and what might be helpful to think about when putting an initial version together? Happy to share results as and when there is something to share myself! bw Andrew

obviously this function does not exist in version 2! I'm really going to have to upgrade...I will see how to save your French transcriptions in order to keep the essentials. for v3, is installation simple?

Brilliant, thanks Stephane. Jesper

(omn-encode '(e e e -e e e_q))

yes V2 It works perfectly for what I do...well I think;-)